秋史 金正喜는 李朝後期 실학자 문인중의 한 사람이다. 그에 대한 기존연구는 學問·芸術에 치우쳐 文學硏究는 상대적으로 미약한 실정이다. 본고는 秋史詩와 詩論을 중심으로 연구하여 그의 文學世界를 밝히는 데 역점을 두었다.
우선 Ⅱ章에서 秋史詩論을 분석하였다. 詩의 본질에 관한 논의로서 學詩의 내용, 學詩의 思想的 배경인 存古主義, 性靈·格調論을 살펴보았다. 여기서 學詩의 중시, 옛 作品의 단순한 모방을 지양하고 그것을 바탕으로 새롭게 詩를 再創造하라는 存古의 경지, 袁枚의 性靈說을 비판함과 동시에 性靈에 格調를 보완한 秋史 특유의 性靈論을 밝혔다. 詩의 실제에 관한 논의로서 作詩論과 批評語의 양상, 그리고 秋史詩論이 한 특징인 詩·書·畵一致論을 언급하였다. 여기서 詩意를 보아 중시하는 作詩의 자세, 自然과 雄渾함을 지향하는 批評意識을, 또한 各藝術論을 一致시키는 원동력은 禪에 있었음을 밝혔다.
Ⅲ章에서 秋史詩를 自然詩·感懷詩와 佛敎·學問·藝術을 각기 素材로 읊은 詩들로 분류하였다. 가장 많은 분량인 自然詩는 漁村·山村·亭子와도 같은 일상현실에서 고립된 空間을 채택함으로서 秋史詩가 현실사회에 바탕을 두지 않았음을 보여주었다. 동시에 山의 空間을 永遠不滅의 眞理, 脫俗과 隱遁, 藝術的 靈感의 발상지로 主題化시켜 그것에 자신을 同一化하였다. 또한 개별적으로 나타난 自然物의 특징을 보면, 꽃은 感覺的인 情緖보다 美德·脫俗·隱遁·眞理등의 觀念과 결탁되어 나타났고, 새는 自然의 機密과 眞理를 전달해주는 매개물로 표현되었다. 물은 흐르지 않고 固定된 心像을 구축하였다. 感懷詩는 時間과 현실인식과 交友관계를 읊는 양상을 살펴보았다. 여기서 秋史는 時間의 흐름으로 인한 變化를 거부하였고, 현실에 구속되지 않고 不滅의 眞理만은 지향하려는 고답적인 情神世界를 보였다. 또한 不變하는 友情을 추구하였다. 佛敎詩는 뜻이 깊은 佛家語를 詩語로서 維摩의 不二法門에 자신의 禪的 경지를 기탁하였다. 學問詩는 주로 金石物을 書藝와 自然風景과 융합하여 읊었고, 藝術詩는 모두 畵題詩 형태로 그림을 설명해주고 또는 藝術觀을 피력하였다.
이러한 秋史의 詩論과 詩의 내용을 觀念과 뜻을 보다 중시하는 抽象的인 표현기법으로 현실을 초월한 순수예술을 지향하는 意識이 이루어낸 文學世界가 하겠다.;Chu-Sa was a literary man in the late period of Lee Dynasty The already established study on him is partial to his studies and arts, therefore the study of his literature relatively has not been studied well enough. For that reason this thesis will give priority to the study of his literary theory and poem, at the same time explains his literary world.
In Seond chapter, Ⅰ analyse on literary theory. First, with discussion of the intrinsic nature of his literary theory, I try deliberatly to look through the study of ancient poem, valuing an ancient style with ideological background of the study of poem, and his characteristic theory of 性靈·格調.
From here, I could acquire the special feature of the literary theory of Chu-Sa; taking serious view of studing the ancient poem, rejecting the simple imitation on the ancient poem, but demanding the fact that the poet must recreate the newly poem based on the ancient poem. With the practical statement of literary theory, I refer to the art of verse making, aspects of critic word and a theory of the meeting point of poem, and the picture as one of his characteristic literary thoery. From here, I could acquire his attitude of verse writing with expression significant poetic word more than the technical skill of poem,
In Third Chapter, I classify his entire poem as nature poem 自然詩 emotional poem 感懷詩 and poems composed by the Buddhism, studies and arts. The nature poem is the most numerous quantity more than the others, and show the space of nature which is isolated from the ordinary life. Therefore, his poem is not based on the reality of life and society. Also he identified his ideal to the sphere of mountain which is motified by the eternal truth, being free from vulgarity and the birthplace of artistic inspiration. What's more, the individual feature of nature; flower represent the image of excellent virtue, noble, seclusion and the truth more than sensual emotion, birds represent the image of a messenger of the secret information and the truth of nature and mountain represent the image which is not flowing but stationary. In the case of emotional poem, I chiefly refer to the aspects of his perception of times and relationships with his friends. From here, he refused the changes by the passing times and without a restriction of ordinary life, he showed the high brow world of his spirit which is only headed for the immortal truth. Also he demanded the eternal friendship. In his Buddhism poem, he explained his faith with 維摩's 不二法門 using the significant Buddhist word. And the poems, versified by his studies chiefly had the main motif on the minerals and rocks harmonized by his writing and landscape. In the poems by his arts entirely was the poems written on a picture to explain it.
Finally I have a conclusion that the literary world of Cha-Sa have characteristics of spiritual, significant and abstract expression and consciousness headed for fine arts.